#Cubo futurism paintings free

The loss of many of her paintings, left in 1917 in the home of her former father-in-law where she had a studio, was another obstacle to the recognition of the significance of her pure pictorial work. This was the case during preparation for the 0,10 exhibition (December 1915), which could have ended in disaster without Exter’s diplomatic mediation. Because of her friendships with both Malewicz and Tatlin, she often played the role of peacemaker during the typically avant-garde conflicts that erupted ineluctably. All the more so since her painting was often at the forefront the avant-garde and Russian art scenes in the 1910s.

In the last decades of the 20 th century, a period marked by the rediscovery of Russian constructivism, her close ties to Western art and her status as a refugee stood in the way of the recognition her work should have received in her native Russia. Thus, at a recent “constructivist” exhibition at the Tate Gallery in London, Exter’s work was included “hors catalogue” alongside Rodchenko’s and Popova’s, artists that for decades have set the tone of formalist classifications, if not already “post-modernists”. Her “constructive” originality and the variety of her pictorial inventions are such that art critics accustomed to classifying works based on clichés of “geometric styles” remain disoriented. The same is true of for her abstract painting, the originality of which has still not been thoroughly perceived. Throughout the nineteen twenties and thirties, Exter divided her time between painting works of the “purist” type, designing stage decors, teaching, and book illustration where her talent flourished phenomenally but which has yet to attract the attention it deserves. After a brief stay in Italy, she arrived in Paris at the end of the year and lived there until her death in 1949. Finally in June 1924, on the pretext of mounting her works at the Venice Biennale, she escaped the Soviet Union. Thereafter she was to develop her extraordinaryĪfter having lived through the disasters of the civil war, in both human and material terms, Exter sought to leave South Russia as early as 1919.

Was at the origin of the first exhibitions of modern decorative art Prospect of a new decorative art based on Cubo-Futurist principles, she

#Cubo futurism paintings free

Inspired by Malewicz’s revolutionary Suprematist work, with which she had been actively involved in the Fall of 1915, and this before all her “non-objectivist” comrades (the term was used in Moscow for the first time in relation to paintings by Exter exhibited in 1915), she nonetheless went on in 1916-1918 to develop a language of abstract forms and a logic of compositional structures free of allegiance to the unconditionally autonomous aesthetic of Suprematism.Īttracted during her first period in Paris (1910-1914) to the

After a Cubist period in Paris between 19, Exter rapidly moved on to incorporate the principles of the Futurist dynamic into her work. A painter of unquestionable originality and equally great constancy of creativity, Alexandra Exter is the artist to whom we owe the birth of constructivist painting in Russia.